Ga-Rei: Zero’s beginning works like an exhilarating kick in the nuts. It comes out of nowhere, knocks our breath out, and then leave us just as suddenly to gather our whirling thoughts. In it, a team of special armed forces are trying to contain an outbreak of supernatural beings in the city. As their members fall one by one, they soon realise someone they once thought a friend has turned against them. It’s worth elaborating on how fantastic that opening is and how skilfully it introduces us to a complex concept of demons and demon hunters while neatly covering the main characters, because that is as sophisticated as the show gets. Two episodes later, the story doubles back to describe a tepid tale of friendship betrayed by circumstance that never quite measures up.
In the style of Berserk and Gungrave, Ga-Rei: Zero concerns a spiralling tragedy of two individuals who form a profound friendship that sadly cannot last, and how one of them becomes the enemy. Unlike Berserk and Gungrave, it attempts to depict this in half their running time, which has some important consequences for the plot. Primarily, the show manages only fifty percent of the intensity. In such revenge plots, the build-up to the unlikely enmity is what makes the rest matter. Not only must we care deeply about both characters, but we must feel convinced that their eventual antagonism is as natural as their initial friendship. Ga-Rei: Zero either has not got the required time to get us that involved or the creators did not have the talent to think up something interesting for the middle.
The show essentially exploits clichés to hammer home the fact that the protagonists, Kagura Tsuchimiya and Yomi Isayama, are TOTALLY BEST FRIENDS, LOOK THEY EVEN KISS LIKE LESBIANS, THAT IS HOW BESTEST FRIENDS THEY ARE! Much of the vital setting up of the friendship features them sharing baths, teasing each other during work, and even an entire episode of Kagura trying to set Yomi up with a lover. A lot of this, rather than proving insightful glimmers of joy in their staid existence as demon hunters, actually feels more like filler. We get mixed in with that the straightforward tale of a powerful family of demon hunters who hate the adopted Yomi and wish to stop her inheriting the position of head of the house. Finally, when the reason for Kogura’s and Yomi’s split becomes apparent, it turns out to hinge as much on silly, avoidable misunderstandings and some supernatural mumbo-jumbo as misfortune. Of course, there are Yomi’s evil relatives weaving nefarious plots, but some of the characters’ lack of common sense constitutes half the problem.
As for the backdrop of demon infestations and demon hunting, it feels superfluous. The mythology behind the demons’ existence never becomes a significant part of the story. The reason for that is that Ga-Rei: Zero is a prequel to the manga, Ga-Rei, and as such assumes the audience knows all the relevant details. For anyone unfamiliar with the manga, like myself, the omission will be understandable but nevertheless detracting.
Ga-Rei: Zero uses its budget to exciting effect during action sequences, although the memorable ones occur at too low a frequency to elevate this to the top echelons of animated works. Otherwise, the animation will largely fail to leap out and shriek demands of admiration at the audience. For a show aiming at constant ominousness, I find the milieu surprisingly tame. Splashes of blood here, a contorted demonic face there, and plenty of dark spaces which have little to do with well-placed shadow and more to do with the gloomy colour palette.
We get cinematic orchestral compositions for tense sequences and softer, nondescript ditties for personal pauses. Generic j-pop songs bookend the episodes. Anyone who remembers Ga-Rei: Zero’s token soundtrack by the end most likely paid no attention to the other, more interesting things on offer.
There are one or two noteworthy facets to the protagonists: I like Kagura’s contrasting shyness and super-powerful abilities while Yomi tries to smile through all adversity, leaving us to wonder what churns beneath her facade. Beyond that, they’re wholly unremarkable.
The problem is that the show has little room to develop them beyond the obvious using scenes that feel decidedly perfunctory. Setting aside that their friendship develops in leaps of cliché, their personalities leave no lasting imprint in our hearts. Consider the intense feelings the ingenious Griffith (Berserk) or brutally ambitious Harry McDowel (Gungrave) evoke - Yomi’s tormented teen performance, in anticlimactic contrast, evokes only pity and a vague frustration as she hurtles from one bad, emotional decision to another.
Ga-Rei: Zero also leaves its secondary cast in limbo. Some have moments of sheer irrationality not befitting their profession and life-long training as demon hunters, mainly so the plot has a reason to deliver a tragedy. But most don’t even get that.
Ga-Rei: Zero shares a setup and cluster of themes with shows like Berserk and Gungrave but executes them to a less successful degree. What it lacks are complex characters to suck us into its emotional storm. Kagura and Yomi are too predictable to deliver the wavering friendship dynamic required to anchor this kind of plot, and portrayals of their relationship often resort to superficialities. Nevertheless, with commendable visuals providing one or two highlights, and an easy-to-digest narrative, this is an effective marketing ploy for the manga. Those who like what they see here may just check out the literary version.
Secret Santa 2015 review
Ga-Rei Zero is mainly about two girls and their friendship that will inevitably fall apart. Their world is a place where ghosties haunt and attack people and it is the Vanquishers' duty to keep people safe from them. Yomi, the adopted daughter of the Isayama family takes care of Kagura, the heir of one of those Vanquisher families, after her mother dies.
Most of the story takes place in a flashback. It takes a while for it to get to the real action, and there are a lot of filler scenes. It all built up pretty nicely to the present. The plot has a handful of cliches, such as family inheritance problems, mysterious little boy antagonist, and school girls fighting demons... but that's expected in a 12 episode show.
The animation is a little awkward at some points, but it's pretty sound otherwise. The fanservice is place wierdly at times, but it's not too obnoxious. The character designs are very nice.
The actions scenes were average at best. Nothing amazing.
The soundtrack was okay, nothing really outstanding. Full of pianos. The ending's really nice though. The voice acting is good.
It seemed like the main characters were gonna be Mr. I Need Revenge and his sidekick Ms. Stoic, but no, as you'll find out in the first episode.
Yomi and Kagura are practically the only ones who get any backstory at all. A lot of secondary characters got little to no screen time to fill up the episodes with Yomi x Kagura fluff, which was dissapointing.
I expected more gore, as in Higurashi levels of gore, but what I got was a sappy friendship with a bit of blood and mystery as side dishes. This might be an interesting anime if you're into family drama and stuff, but to be honest, nothing really stood out to me except for Yomi.
Ga Rei: Zero’s high octane first episode introduces us to a troupe of interesting characters, filled with spirited action, a dark storyline and… death. Within twenty-two minutes, it offers a plot twist to shock the viewer. As a result, the quick pacing is disorienting, foreshadowing a show in love with combat and slacking on story.
Ga Rei: Zero is anything but that. From episode two, the narrative takes a decidedly steady stride after forcing our heads underwater. Letting us come up for air, its easy to take in the world. Set in an alternate version of Japan, the government is engaged in a secret war with the paranormal enlisting the help of exorcists. Being from a family of exorcists herself, Kagura is pulled into the struggle of ‘good vs. evil’. Now in any other anime this set up would be an excuse for large-scale battles between spirits and their hunters. But Ga Rei: Zero uses it as a frame to focus on the associations of its characters.
Centering on the relationship of the dark-haired Yomi and the younger Kagura, the story seems more slice of life than science fiction, as the two grow to love one another as sisters. At times it appears like the plot is having an identity crisis, focusing on the playful exchanges of the pair before shifting gears into a supernatural skirmish. While jarring at first blush, the writers took effort to weave the two strands together, carefully paving the heroine’s path to a momentous climax.
Midnight hues evoke a gloom that haunts over the cast. Colors are appropriately muted during moments of tension. These scenes feel almost like watercolors at moments, fluorescent lighting casting a thin haze over the crisp drawings. Serving as the perfect stage, these set pieces host seamless animation, though the action can seem a bit stiff at times when slow motion is used. The only major detractor is the obtrusive CGI, a blending of cell shading and realistic textures, which feels out of place. A glaring example is the gargantuan Kasha beast in the first episode. Its flames look plastic and the edges of grey skin are jagged from poor aliasing.
The brisk opening "Paradise Lost" by Minori Chihara has a tinge of pessimism while reflecting on the ties of love. It’s pleasant to the ear while tied to the motifs of the Ga Rei: Zero, which is what every OP should do. The ending theme "Yume no Ashioto ga Kikoeru" by Mizuhara Kaoru is filled with melancholy, sober when compared to the Chihara’s offering. Both pieces are excellent and are accompanied by an appropriate soundtrack that has a similar sound. The voice acting is done well, Kagura’s innocence perfectly captured while Yomi’s expressions are handled expertly from teasing to tender. Nothing really stands out from the supporting cast except for Mitogawa, the villain, whose innocent tone is both vacant and eerie.
Ga Rei: Zero offers the typical shounen tango of heroes and baddies as a young heroine comes to term with the assertive grip of ‘destiny’. Kagura questions if it’s acceptable to kill the possessed corpses who still look human. The protagonist’s vacillation is the girl’s tragic flaw that inevitably leads her to the footsteps of the stunning conclusion. Admirably maturing Kagura through the twelve episodes from vulnerability to independence, Ga Rei: Zero executes an effective coming of age tale.
Yomi acts as a foil to Kagura’s growth. As the story progresses, she becomes less and less grounded in reality. It’s disheartening to watch her mentally unravel, her transformation is perversely beautiful as the once a supportive guide becomes the antagonists.
Sadly, the supporting characters are an expendable commodity in this production. The audience is introduced to a whole platoon of faces, from those in the Minstry of Defense, to those in the Agency. The program has no shame, liberally murdering likable persona throughout the installments.
Taking a simple formula of mixing Ghostbusters, Men In Black, and a bit of high school drama, Ga Rei became a wildly popular manga in Japan. Ga Rei: Zero serves as a prequel to the drawn word, focusing on the relationship of Kagura and her adoptive sister Yomi. Narratives of this nature raise a few questions: Is it accessible to those who are not familiar with franchise? If so, does the program offer anything to those foreign to the series?
The answer to both is an emphatic yes. Ga Rei: Zero serves a powerful story, wrought with impact, memorable characters and excellent production value. Not only does it reinforce the happenings of the main storyline, it seduces you into the dark embrace of Kagura’s world, imploring that you give the manga at least a passing glance.
I leave this series with much less excitement than I started it with. While it is by all means watchable, 12 episodes was definitely enough. Anything beyond that would be a waste of time.
At its core, Ga-Rei: Zero is a tragedy about two step-sisters driven by their supernatural fates. Often times, the scenes of the sisters’ ever-changing relationship were very interesting to watch. However, almost everything else that took up screen time was underwhelming, mediocre, or just plain confusing.
When the step-sisters were not in focus, what would take over would be either the unconvincing chemistry between Yomi and Noriyuki, the “humorous” shenanigans of the SDCD members, or the ghosts or whatever they’re fighting which have been given no clear explanation as to their origins. Even with all these interruptions, the plot was still able to progress, but I could not feel the pain and sorrow I was meant to because the buildup of uninteresting and even illogical events took away from my investment in the characters. It just seemed that they were making rules as they went along, some of which they ended up breaking anyway. The series never seemed to know what it was doing and I felt lost from episode 1 on. This is mostly because the events of episode 1 seem completely irrelevant to the rest of the story, they are never mentioned again beyond episode 2 and they do not seem to fit with the timeline of the rest of the story. The best way to describe it all is that it is just a mess. You can follow along with it, but you’re bound to find yourself stuck in a good few places.
The human characters looked good. They were all distinguishable from each other with the exception of the twins who I assume were made intentionally identical for “comedic” purposes. All of the humans also had various expressions that actually did help set the mood at certain points. I also liked that designs of the spiritual beasts that the SDCD used to help them defeat the ghosts. However, bad CGI was used to create the big “scary” ghosts that were meant to be the most dangerous in the world, and it was so glaringly noticeable. These particular ghosts all looked like misshapen dinosaurs on fire and weren’t horrifying in the slightest. The ghosts made without CGI weren’t much better. They seemed quite unoriginal and weren’t even challenging to take down. If the fighting-ghost aspect of the show wasn’t so prominent, I would not be complaining as much, but since the series finds it to be so crucial, I think there should have been more effort put into actually making those things seem threatening.
Other than the OP and ED, music was not very noticeable except for a few tracks that had a woman singing, which were kind of annoying. Otherwise though, the Japanese cast provided good voices for their characters.
Yes, I can definitely say that the relationship between the step-sisters had great development. I even like the direction they went with some of the side characters. However, Yomi is the only character we truly get to see the full development of. Kagura gets some decent development, but many of the more interesting parts of her development happen off-screen, making it harder to come to a full understanding of her. This large amount of off-screen development raises several questions during the last few minutes of the final episode of which will never be answered. But by that point, I stopped caring and forgot to be confused.
This anime was just ok. That’s it. It doesn’t do much to ensure it lasts in your memory and thankfully, it also does not go on longer than it needs to. This is just the kind of anime to watch when nothing else looks too appealing. Nothing in it warrants love or hate. Just take it as an anime you can finish quickly and add to your “Watched” list and move on.
What a what was that? The first episode was uttery magnificent, brilliant even. But... but.... what the hell was with the rest of it?? Don`t get me wrong, I like sappy romances, but the worst of it- there wasn't any of it!! I give up. I'll watch it some other time. If I remember it.